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We have now placed Twitpic in an archived state. This article is about the film genre. Blaxploitation or blacksploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s. Blaxploitation films were originally aimed at an urban African-American audience, but the genre’s audience appeal soon broadened across racial and ethnic lines. Hollywood realized the potential profit of expanding the audiences of blaxploitation films across those racial lines. Junius Griffin coined the term from the words “black” and “exploitation. Harlem superstuds, the pimps, the private eyes and the pushers who more or less singlehandedly make whitey’s corrupt world safe for black pimping, black private-eyeing and black pushing.

When set in the Northeast or West Coast, blaxploitation films are mainly set in poor urban neighborhoods. Pejorative terms for white characters, such as “cracker” and “honky,” are commonly used. Following the example set by Sweet Sweetback’s Baadasssss Song, many blaxploitation films feature funk and soul jazz soundtracks with heavy bass, funky beats, and wah-wah guitars. 1960s and 1970s was influenced by the Black Power movement. The genre’s role in exploring and shaping race relations in the US has been controversial. Hollywood producers, in this case Dino De Laurentiis, a cinematic way to depict plantation slavery with all of its brutal, historical and ongoing racial contradictions and controversies, including sex, miscegenation, rebellion and so on.

Alongside accusations of exploiting stereotypes, the NAACP also criticized the blaxploitation genre of exploiting the entire black community and culture of America, by creating films for a profit that those communities would never see, despite being the vastly misrepresented main focus of many blaxploitation film plots. Blaxploitation films have had an enormous and complicated influence on American cinema. Filmmaker and exploitation film fan Quentin Tarantino, for example, has made numerous references to the blaxploitation genre in his films. Jackson, is a modern-day interpretation of a classic blaxploitation film.

Blaxploitation films have profoundly impacted contemporary hip-hop culture. In Michael Chabon’s novel Telegraph Avenue, set in 2004, two characters are former blaxploitation stars. A 2016 video game, Mafia III, is set in the year 1968 and revolves around Lincoln Clay, a mixed-race African American orphan raised by “black mob”. The notoriety of the blaxploitation genre has led to many parodies. Coonskin was intended to deconstruct racial stereotypes, from early minstrel show stereotypes to more recent stereotypes found in blaxploitation film itself.

The work stimulated great controversy even before its release when the Congress of Racial Equality challenged it. Dolemite, less serious in tone and produced as a spoof, centers around a sexually active black pimp played by Rudy Ray Moore, who based the film on his stand-up comedy act. A sequel, The Human Tornado, followed. Robert Townsend’s comedy Hollywood Shuffle features a young black actor who is tempted to take part in a white-produced blaxploitation film. The satirical book Our Dumb Century features an article from the 1970s entitled “Congress Passes Anti-Blaxploitation Act: Pimps, Players Subject to Heavy Fines”.

Another of FOX’s network television comedies, “Martin” starring Martin Lawrence, frequently references the blaxploitation genre. In the movie Leprechaun in the Hood, a character played by Ice-T pulls a baseball bat from his Afro. This scene alludes to a similar scene in Foxy Brown, in which Pam Grier hides a revolver in her Afro. Adult Swim’s Aqua Teen Hunger Force series has a recurring character called “Boxy Brown” – a play on Foxy Brown. An imaginary friend of Meatwad, Boxy Brown is a cardboard box with a crudely drawn face with a French cut that dons an afro.